On the Ritual Use of Ch'an Portraiture in Medieval China

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On the Ritual Use of Ch'an Portraiture in Medieval China
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Citation: Foulk, T. Griffith, and Robert H. Sharf. ‘‘On the Ritual Use of Ch’an Portraiture in Medieval China.’’ (In French.) Cahiers d’Extrême-Asie 7 (1993–1994): 149–219. https://www.persee.fr/doc/asie_0766-1177_1993_num_7_1_1064.

Article Summary

L'article traite d'un genre de portraits de moines Zen appelé chinzō, genre qui fleurit sous les Sung et les Yuan, et fut introduit au Japon à l'époque de Kamakura. On connaît au Japon environ soixante-dix chinzō chinois et japonais datant du treizième au seizième siècle, considérés comme "Trésors nationaux" ou "propriétés culturelles importantes", mais qui ne représentent qu'un dizième du nombre total de portraits connus. Les portraits relevant de ce genre sont assez stéréotypés, et représentent en général un moine assis en sur une chaise haute en position du lotus. Souvent représenté de trois-quarts, mais parfois aussi de face, il est vêtu d'un habit de cérémonie, et tient dans sa main droite un attribut de son autorité, d'ordinaire un bâton, un sceptre ou un chasse-mouches. Certains chinzō représentent aussi le moine assis ou debout dans un paysage. Enfin, ils comportent généralement un "éloge" en vers et une dédicace.
      S'interrogeant sur la fonction religieuse de ces portraits, Griffith Foulk et Robert Sharf sont amenés à remettre en question l'idée que les chinzō servaient à authentifier la transmission de maître à disciple. Une étude approfondie des sources montre que la définition somme toute moderne des chinzō, visant à définir un genre limité dans le domaine de l'histoire de l'art, a fonctionné dans les faits de façon étroitement normative, alors que le terme désignait à l'origine une catégorie beaucoup plus large de portraits. Conduits de la sorte à étudier la construction moderne du genre des chinzō, les auteurs en arrivent à poser un certain nombre de questions théoriques et méthodologiques qui devraient avoir un certain impact sur l'histoire de l'art asiatique. (Foulk and Sharf, introduction, 149)

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